For 2,063 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 6.3 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Orphanage
Lowest review score: 0 She Hate Me
Score distribution:
2,063 movie reviews
    • 85 Metascore
    • 91 Peter Rainer
    All in all, a visual and musical feast.
    • 74 Metascore
    • 91 Peter Rainer
    All in all, a harrowing, one-of-a-kind movie.
    • 75 Metascore
    • 91 Peter Rainer
    It seems to me that too often in this country, and especially now, science has become politicized to the detriment of those who could be helped by it. Just because truths are inconvenient is no reason to suppose they are not real.
    • 73 Metascore
    • 91 Peter Rainer
    Probably the most faithful to the writer's tortured spirit. It's the kind of movie that gets under your skin - and stays there.
    • 68 Metascore
    • 91 Peter Rainer
    Kenan never loses sight of the wonderment that children (and adults) experience when the inanimate becomes animate. Anthropomorphism is basic to the art of animation. So is a good story, and Kenan has that, too.
    • 71 Metascore
    • 91 Peter Rainer
    Factotum is so sly and low-key hilarious that anybody can be in on the joke.
    • 66 Metascore
    • 91 Peter Rainer
    In Gyllenhaal's all-out performance, it reminded me most of Judy Davis in "High Tide," another movie directed by a woman (Gillian Armstrong) about a misfit mother and her daughter. It has the same fierce honesty.
    • 71 Metascore
    • 91 Peter Rainer
    Nathalie Baye is remarkable in Le Petit Lieutenant where she plays Caroline Vaudieu, a Parisian police inspector who returns to her post after a bout with alcoholism following her child's death.
    • 77 Metascore
    • 91 Peter Rainer
    The film may be subtitled "Shut Up & Sing," but you can't sing with your mouth closed.
    • 64 Metascore
    • 91 Peter Rainer
    Viewers expecting a blistering attack on the fast-food business, or an Altmanesque panorama, will be disappointed, but it's a sensitive and humane piece of work.
    • 54 Metascore
    • 91 Peter Rainer
    It's a sideways view of a national trauma. The large cast includes standout performances from such unlikelies as Demi Moore, playing an alcoholic crooner, and Estevez himself, as her long-suffering husband. Everyone in this film is powerful.
    • 74 Metascore
    • 91 Peter Rainer
    If the literacy of The History Boys is deemed uncinematic, then give me uncinema anytime.
    • 88 Metascore
    • 91 Peter Rainer
    It's a marvelous performance in a marvelous movie, one that sneaks up on you while you're watching it.
    • 71 Metascore
    • 91 Peter Rainer
    In some ways the movie's straightforward style is more appropriate to the horror than a more souped-up approach would have been. With material this strong, sometimes the best thing a filmmaker can do is to stay out of the way.
    • 82 Metascore
    • 91 Peter Rainer
    The Namesake takes in a lot of territory, and at times is too diffuse, too attenuated. But the actors are so expressive that they provide their own continuity. They transport us to a realm of pure feeling.
    • 85 Metascore
    • 91 Peter Rainer
    The interaction between soldiers and captives becomes a microcosm for an entire culture. It's a wisp of a movie but it has stayed with me longer than much supposedly weightier fare.
    • 81 Metascore
    • 91 Peter Rainer
    In addition to the marvelous lead cast, all sorts of funny performers show up in cameo roles, including Steve Coogan, Bill Nighy, and Timothy Dalton.
    • 68 Metascore
    • 91 Peter Rainer
    The plot's many complications pretty much all add up, which is a rarity these days for a murder mystery. It's possible that audiences don't even care anymore if a film makes sense as long it's entertaining.
    • 75 Metascore
    • 91 Peter Rainer
    The film is laced with lovely moments, from the leads and from Shelly as a waitress friend.
    • 62 Metascore
    • 91 Peter Rainer
    The most enjoyable thing about the "Ocean's" movies is that nobody involved seems to take them seriously. The star wattage is immense but the stars themselves are refreshingly self-deprecating, almost satirically so.
    • 69 Metascore
    • 91 Peter Rainer
    Dan Klores's astonishing film is about a subject so bizarre it could only work as a documentary – as a drama, it would be dismissed as being too far-fetched.
    • 69 Metascore
    • 91 Peter Rainer
    Easily the best in the series since the first one.
    • 80 Metascore
    • 91 Peter Rainer
    The movie is best when it just riffs on our compacted memories of the past 18 years of episodes. Fortunately, that's most of the time.
    • 63 Metascore
    • 91 Peter Rainer
    Considerably less slick than "An Inconvenient Truth," and no less urgent.
    • 84 Metascore
    • 91 Peter Rainer
    After seeing this film, try reading Norman Mailer's "Of A Fire on the Moon," its perfect companion piece.
    • 70 Metascore
    • 91 Peter Rainer
    The movie is an idyllic view of life as it ought to be, rather than the way it is.
    • 62 Metascore
    • 91 Peter Rainer
    Director Mark Waters does a fine job meshing the fantastical with the quotidian.
    • 71 Metascore
    • 91 Peter Rainer
    I don't wish to give offense here, but it certainly doesn't hurt that Mary Lou is voiced by that famously small bundle of energy Isla Fisher. (She's 5-foot-2.)
    • 70 Metascore
    • 91 Peter Rainer
    At this late date there is little that is factually revelatory about his film, but as a human document of what people are capable of in wartime, it's indispensable.
    • 74 Metascore
    • 91 Peter Rainer
    Mongol is a throwback to a more respectable tradition. The largeness of its scope arises naturally from the material, not the budget. The movie earns its stature.

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